Pared-down arrangements place O'Brien's exceptional songwriting at the forefront of each track. His voice and words, a paradoxical mix of worldly weariness and childlike delivery, are still present, and as enduring and endearing as ever.

Even where his pieces feel unscripted and accidental, they all manage to paint a doomy melancholy which has a filmic charm.

Of course, at nearly two hours long, it’s probably not something you’ll listen to all in one go (especially if you’re not a Bob’s Burgers fan), but it’s quite easy to dip in and out of it at your leisure. If you like songs about butts and farts too, then you’re well catered for here.

BBF's effort may not be anything ground breaking, but if you're looking for a solid mix to vibe out to, this could be just the ticket.

This is an album that will not send Shintaro Sakamoto into super stardom, but will further cement his place as an experimental and eternally intriguing cult artist.

The reverby haze that now surrounds Title Fight mostly works to their favor, but perhaps they could benefit from bringing some sharper elements out of the mix, or some new dishes to the shoegaze table.

There is enough quality here to suggest that The Entrepreneurs can produce something truly special. They haven’t quite pulled it off yet, but Noise & Romance is noisy and affecting enough to suggest the promise of future triumphs.

Concrete Vision is perfectly fine.

A common pattern on this record? A feeling of positivity and amusement that shines through in almost every song, while still preserving a solemn mood.

The rest is beautiful, sure, and there's moments that are truly intoxicating where you just want to stop what you're doing and let it wash over you, but it's also an album that, once it reaches its end, sort of fades away. There's nothing here that really sticks with you for any longer than the album's duration.

The Body gracefully don't try to solve the zeitgeist of human suffering one way or the other, but they surely have retained their expert status at describing its pitfalls.

It's hard to determine the highs, lows and fluctuations of the record. That's not to say that the record all sounds the same, but without the visuals that such music seems to promise it can be difficult to remain engaged.

LNZNDRF might feel a little esoteric to fans of the Devendorfs' back catalogue, but it's a heavyweight enough effort to hopefully ensure that it won't be a one-off.

This diversity in delivery is the savior of the first half of the record which pales slightly to the second.

Fans of Oneida, or Liturgy, or both, should be familiar with the boundary-pushing aspects of those bands, and will relish a chance to dip into this recording.

Lex is well-mannered, fun experimentalism with a winning spirit. If it doesn't break any tonal boundaries, it firmly establishes its composers' place at least in sight of the bleeding edge. And it opens the door to all manner of discoveries.

Whilst making a discernible attempt to liven up their song-craft, 2:54 has definitely returned as a stronger, more endearing band. Sometimes the experiments don't work.

The highlights come when the songs are underscored by punchy percussion, giving the tracks a slightly sultry groove.

Lower Dens have the right ideas for their music, but they’re not always the right ideas at the right time. This album, flawed as it may be, is still worthwhile for when the latter happens, like with the heated guitar work and wailing vocals of ‘Two-Faced Love’.

Karen O and Danger Mouse have a story to tell on Lux Prima; though not a traditional concept album, it does create a luscious portrayal of a small blinding light in the seemingly infinite dark.

Ultimately, Ought have created an EP that does not draw attention away from their debut album, but instead builds on it, driving their intensity forward and reaching further outwards for raw emotion and energy.

A considered but playful overdue debut, Towards will no doubt sustain and serve them well as head onwards and upwards.

For better or worse, Gliss Riffer is the most characteristically 'Dan Deacon' record that Dan Deacon has yet released.

Cohen’s voice doesn’t do all the heavy lifting. The instrumentation is lush, and Owens’ production pristine, with each and every layer given time to shine. It can all be a bit glossy, but how else should one approach such joy? It suits the feelings found here well, and makes Welcome Home and endlessly pleasant abode to inhabit.

As fun as it is, a great deal of The Curved Line feels too laid-back to be spectacular. Only occasionally does it seem like it might be ready to explode.

This is a good record but unfortunately there's something missing.

Whether the transition marks his last shot at regaining his once dominating presence in the crowded trap-saturated landscape or just Jeezy shifting his purpose and place into a more mature direction, Church in The Streets is a respectable shot at both.

Ultimately, despite its broodier and moodier efforts, Cage Tropical never really hits the heights of Interstellar. However, Rose continues to prove that she doesn’t need to dive into anything so sophisticated as Greek mythology or abstract philosophy to communicate her emotions.